Acuhorn nero125 is the high fidelity cutting edge gear. This acoustic genuine solution was launched in 2004 with the Award of the Year in High Fidelity. It now includes the latest superleggera line. This purposefully light driver has no body at all. It is suspended between a wooden enclosure and a neodymiun engine. Lightweight wood materials are used to build it. The best review in the audio magazine Enjoy The Music Superior Audio. Have a taste of that bestseller featuring much positive feedback.

Enjoy The Music World Premiere Acuhorn Nero 125 Loudspeaker Does every speaker sound good with some music, yet not so well with others? Review By Jules Coleman

Acuhorn Nero 125 Loudspeaker Full range single driver loudspeakers often display a coherence, presence, immediacy and dynamism that precious few multi-driver speakers approximate, and fewer still can match. Such speakers, like the Acuhorn Nero 125 loudspeaker, typically mate well with low power amplifiers — often but not necessarily built around single-ended directly heated triodes — that exhibit many of the very same virtues. More than a few audiophiles have found the synergies irresistible and vow a life-long (by audiophile standards) allegiance, forswearing all others. I’ve been down that road before myself — many times — and I understand the pull on one’s heartstrings a system built around a single-driver full range loudspeaker mated to low-powered tube amplification can have. Here we will see if the Acuhorn Nero 125 loudspeaker is match initiated by cupid if not quite one made in heaven.

I used the Acuhorn in both of my systems:

The reference system featuring all Shindo equipment including the 300B Ltd monoblock amplifiers; the NYC apartment system where they were driven by the 18 watt EL84 based Shindo Montile as well by a Sound Quest SV 84 integrated amp also using the EL84 tube and also producing roughly 18 watts. Both listening rooms are above average in size with the Connecticut room being especially large at 30x18x9.

The Acuhorn performed best in both rooms when placed far away from back and sidewalls. In both listening rooms I preferred the speakers no more than 7-feet from one another. So I set the speakers up with aim of optimizing balance, coherence, density and authority. I found that as the speakers are moved further apart, the sound becomes ethereal and whatever increased spaciousness in the soundstage one achieves comes at a price that I, for one, am unwilling to pay. Keeping the speakers within the specified distance helped reinforce bass output and gave the speakers their weightiest and most authoritative foundation.

The speaker performed admirably in both set-ups and to its credit reflected the vast differences in associated equipment. In my home, I listen almost exclusively to vinyl whereas in my apartment I listen almost exclusively to CD. The analog front end in my home is the Shindo Garrard 301 and my current digital front end in NYC is the Raysonic 128. The Raysonic is a fine player and is a high value performer, but it cannot hold a candle to the Shindo analog set up.

Though the Nero 125 is not nearly as sensitive a loudspeaker or as easy a load as other single driver loudspeakers I have owned, it proved to be no problem for any of the amplifiers I had on hand. The sound was considerably more powerful, richer and resolute in the reference system than in the second system. I viewed this very positively. The speaker revealed differences in ancillary equipment and while it was very much at home with push pull amplification and a modest digital front end, it shone in a system featuring state of the art electronics and front end.

In fact, however, a well-designed high sensitivity loudspeaker can be extremely revealing of differences in everything from front ends to amplification. The best can show you just how extraordinary really wonderful some electronics are. The better your electronics are, the better high-sensitivity loudspeakers will sound — up to their limitations of course. The Nero 125 is both highly resolving and highly revealing plus always enjoyable and engaging.

So how did the Nero 125 perform? In a word: excellent. Prior to the Acuhorn’s stay in my system, the best sounding single-driver full range back-loaded horn I have had any experience with was the Beauhorn. Every Beauhorn I heard employed a Lowther driver but in each case it did a remarkable job of taming the Lowther peak. But the real trick of the Beauhorn was that it did not try to do too much. The Beauhorns I have heard have virtually no bass to speak of.

The Nero 125 is unusual in several respects. Using a smaller driver, it too tries to plumb the depths, and it succeeds more than it has a right to. More importantly, it does not buy its bass extension at the cost of a gaping hole where the lower midrange and upper bass should be. The Nero 125 is gloriously coherent from the upper midrange to the upper bass. There is a consistency of dynamics and resolution that is natural and seductive. The basic presentation is balanced within its range. There is no artificial vividness or immediacy that comes from a spotlit presence region. As a result, the speaker is much easier to listen to over a broad range of different kinds of music. I listened to lots of acoustic and electric jazz, blues, chamber music and pop rock, all to very good effect with great enjoyment.

One of the other extraordinary features of the Nero 125 is that it has very little distortion. This means that the sound comes across in a relaxed fashion that is easy on the ears. The sound is not quite as distortion free as from a field coil, but by comparison to every Lowther I have heard the Acuhorn TSR 200 driver is a revelation.

The upper frequencies of the Acuhorn were similarly well balanced but not particularly extended. This is no surprise, and it did not disappoint me. Whereas the fashion nowadays is to produce a speaker with a tweeter capable of output at 30 kHz or higher, I have enjoyed music most in speakers that do not reach much above 16 kHz or plumb depths much below 35 to 40 Hz. The key is not how much is reproduced, but how well it is reproduced — and how balanced the overall presentation is. In this regard as well, the Acuhorn shown. The Nero 125 is an exceptionally well balanced loudspeaker.

It is also a musical loudspeaker. It is common to distinguish between speakers that play music and those that are like tools for revealing the various parts of a musical performance. Acuhorn falls on the musical side. You can follow the parts if you like, but the speaker does not take the music apart. It presents the music as an organic whole: continuity, integrity and balance. It is very informative, but not in the way that some other speakers that emphasize the leading edge of notes are.

Conclusion

In my experience, one cannot help but listen to music that sounds good on one’s speakers. Every speaker is flattered by some music and flattened by others. I own a pair of rebuilt Quad 57 ESLs and it has become apparent to me that when I listen to them I listen to music that flatters them. No Led Zeppelin and no Who Live at Leeds, yet plenty of jazz including Getz and Gilberto. To its credit, there is very little I don’t find myself willing and often anxious to play on the Acuhorn. The speaker thrives on solo piano, but it excels on pretty much everything else as well.

The Acuhorn Nero 125 is not inexpensive. But its price is warranted by its construction, and more so by its performance. Between around 40 Hz and 15 kHz the Acuhorn Nero 125 is a smashing success. It is beautifully balanced, dynamic, and immediate without being artificially hyped up, relaxed, involving and downright seductive. It is unquestionably among the best back-loaded horn loudspeaker I have heard. If full range back-loaded horns appeal to you, then you owe it to yourself to listen seriously to the Acuhorn Nero 125. It does so much so well. An excellent speaker, very highly recommended.